Critically, European films are having a hell of a year. Euro cinema is well represented in this season’s Oscar race, with the likes of Jacques Audiard’s transgender crime musical Emilia Pérez, Edward Berger’s papal thriller Conclave, Coralie Fargeat’s body horror satire The Substance, Steve McQueen’s WW2 drama Blitz, Tim Fehlbaum’s historic thriller September 5, and Pablo Almodovar’s end-of-life drama The Room Next Door, are among the award frontrunners.
Commercially, it’s another story. On Thursday, the European Audiovisual Observatory (EAO), a research body, published its annual report on the theatrical performance of European movies worldwide. It’s not a pretty picture.
According to EAO, European films accounted for just 6 percent of worldwide ticket sales in 2023, compared to 56 percent for U.S. productions and 26 percent for Chinese films. Japan, thanks to the global success of anime, is close on Europe’s heels, with Japanese releases accounting for 5 percent of theatrical admissions worldwide. (The EAO measures theatrical admissions, not gross box office revenue to better account for currency fluctuations and differences in ticket prices across different countries).
Total theatrical admissions for European films hit 239 million last year, up slightly (2.7 percent) on 2022 but ticket sales are still some 35 percent below the pre-pandemic average, from 2014 to 2019, of 367 million admissions annually.
Worryingly, admissions in the United States and China, once the most important export markets for European films, “are plummeting” the EAO reports. In 2015 there were more than 33 million U.S. admissions for European films — led by Euro blockbusters like Olivier Megaton’sactioner Taken 3 (9.8 million admissions) and Paul King’s family feature Paddington (8.1 million). The number last year was 4.8 million. China’s love of European cinema peaked in 2017, when close to 35 million Chinese moviegoers bought a ticket for a European production, some 11.3 million for Luc Besson’s sci-fi spectacle Valerian and the City of a Thousand Planets and 6.3 million for Paddington 2. Last year, European films sold just 1.3 million tickets in the Middle Kingdom.
The lack of Euro blockbusters — what the EAO defines as films that sell more than 1 million tickets — is part of the problem. “European blockbusters are an endangered species,” the report says, noting that films achieving more than one million admissions are down 43 percent compared to pre-pandemic years.
